Cinematic Beer Commercial Live Action
A detailed commercial prompt for a beer brand featuring a man diving off a jungle bridge and relaxing in a luxury villa.
提示词
[REFERENCE LAYER]
Uploaded reference images, in upload order:
@Image1 — CHARACTER REFERENCE, BUNGEE STATE. The man, wearing his black bungee harness
with the shirt collar closed. Identity and wardrobe reference only.
@Image2 — CHARACTER REFERENCE, VILLA STATE. The same man with no harness and the shirt
collar open. Identity and wardrobe reference only.
@Image3 — PRODUCT REFERENCE. The NAGI beer can. Design reference only.
Follow @Image1 strictly for his face, hair, stubble, build and clothing in every shot from
0s to 13s, including the black bungee harness on his waist and thighs.
Follow @Image2 strictly for the same man from 13s to 18s, with no harness and an open collar.
Follow @Image3 strictly for the can in every shot where it appears: the matte pale sea-glass
body, the bare silver rim, lid and tab, the thin white horizontal line, the white word
"NAGI", the small white "JAPANESE LAGER" beneath it, and the slender white barley ear.
The man in @Image1 and the man in @Image2 are the SAME person. Keep one single identity.
None of these images is a starting frame. Do not open the film on any of them. Do not
inherit their composition, their angle, their crop, their flat grey background or their flat
studio lighting. Take only the identity, the wardrobe and the product design from them.
[ONE-LINE SUMMARY]
18 seconds | 16:9 | 24fps | 720p. Live-action beer commercial.
The man from @Image1 dives head-first off a catwalk on a jungle bridge, falls into a gorge
toward a single point of white light, grabs the @Image3 can resting on a crystal at the
bottom, rises holding it, and arrives in a luxury villa where he finally relaxes.
Cinematic live action, shallow depth of field, natural light. Fast-paced advertising edit.
[GLOBAL SETUP]
Environment and texture: Remote Southeast Asian jungle at morning, a vast limestone gorge
filled with mist. Humid air. Emphasize extremely realistic physical texture.
Visual style: Cinematic live action. Shallow depth of field. Natural light and backlight.
Film grain.
Camera language: Only one camera movement per shot. Never mix movements.
Character: exactly as in @Image1 — lean and wiry, long narrow face, warm tanned weathered
skin, narrow hooded eyes, straight nose bridge, thin lips, angular jaw, short black hair
with grey at the temples, light patchy stubble, faded olive-green jungle shirt with
sleeves rolled below the elbow, dark khaki cargo trousers, scuffed brown hiking boots.
Preserve real fine pores and authentic skin texture.
From 0s to 11s he always wears the black bungee harness from @Image1: the waist belt with
its steel buckle and both thigh loops joined by flat webbing. The harness is visible
whenever his body is in frame. Never remove it early.
From 13s onward he matches @Image2 exactly: no harness of any kind, collar button open.
Product: exactly as in @Image3. Never change the colour, proportions or printing of the can.
Falling posture rule: He always goes over the edge leading with his head and chest, tipping
his upper body forward into the drop. His feet leave the catwalk last. He never steps off
feet-first, never drops feet-down, and never falls with his legs below him. He is head-down
and upper-body-first from the instant he leaves the catwalk until he reaches the bottom.
Can orientation rule (important): While it rests on the crystal, the can stands UPSIDE DOWN
in world space — its lid resting flat on the crystal surface, its base pointing up toward
the sky, and the word "NAGI" reading upside down to the world. This is intentional; do not
correct it. Because the man arrives head-down, the can appears upright from his point of
view, so he grips it in a completely natural way, thumb toward the lid. When his body then
rotates head-up, the can rotates with his hand and ends up correctly oriented, lid up,
held naturally. His grip never changes or re-adjusts during this rotation.
Core of the performance: Falling = everyday stress. Rising = release.
The film opens on a tense face and answers it with the same face released.
VOICE-OVER RULE (read carefully): There are exactly two spoken lines in this entire film.
Both are voice-over, spoken by an unseen narrator with a calm, low, warm male voice,
unhurried and quiet. Nobody on screen speaks these lines. The man's mouth does not move
for them and there is no lip sync anywhere in the film. The two lines are:
at 8.5s — "In the noisy every day,"
at 15.5s — "Stillness, in one can."
These two short lines are the complete and total amount of speech in the film.
Add no other narration, no other dialogue, no improvised words, no extra sentences,
and do not repeat these lines. The only other human sound in the film is his scream
during 4.5-7.5s, which is not speech.
[TRANSITION SETUP]
Forbid hard cuts. Forbid objects appearing out of nothing.
Maintain the breathing of the camera in harmony with the shot lengths,
and leave enough time for each transition.
This film has exactly eight shots. Render all eight. Do not merge or drop any of them,
including the short opening shots.
[TIMESTAMPS]
0-1s [THE FACE — EXTREME CLOSE-UP]
Action: The film opens on this shot. Extreme close-up of the @Image1 man's face filling
the frame. Sweat beads at his temple and runs down. His pupils are wide. His jaw is tight
and a muscle flexes at the hinge. He blinks once, hard. His breathing is shallow and fast
through slightly parted lips, and his eyes flick downward and away, unable to hold still.
Loose strands of hair move in the wind at the edge of frame.
Intent: Put the viewer inside his stress before showing them anything else. This is dread,
not adventure.
Camera: Extreme close-up, locked off. No camera movement at all.
Color: Cold blue-green. Desaturated. Hard side light from a low sun.
Audio: A deep slow human heartbeat, low and very close, as if heard from inside his own
chest. This is the only prominent sound. Beneath it, only his shallow breathing and the
faint sound of wind moving through the gorge. There are no city sounds of any kind: no
traffic, no cars, no crowds, no station announcements, no phones, no machinery, no
distant voices. No background music. No voice-over in this shot.
On-screen text: none.
-> Natural cut
1-2.5s [THE VOID — STRAIGHT DOWN]
Action: Cut to a camera positioned high above, looking straight down. Directly below, a
narrow open steel-grating catwalk juts out from a rusted steel truss bridge into empty
air, a thin bright line across an enormous field of drifting mist. The @Image1 man is a
small figure standing near its tip, wearing his harness, the bungee rope curling behind
him along the grating. Below and around the catwalk there is nothing but the mist-filled
void of the gorge.
Intent: One pure image of how high and how alone he is. No face, no acting — the thin line
of metal and the void do the work.
Camera: Directly overhead, looking straight down, locked off. No camera movement at all.
Color: Cold blue-green. Heavy mist. Almost abstract.
Audio: Only the heartbeat, close and loud. Wind moving through the gorge. The faint creak
of steel grating. No city sounds. No background music. No voice-over in this shot.
On-screen text: none.
-> Natural cut
2.5-4.5s [THE JUMP — FULL BODY, SIDE ON]
Action: Cut to a side view of the catwalk from across the open air, at roughly the same
height as the man. His full body is clearly visible, matching @Image1 exactly, with the
black bungee harness plainly visible on his waist and thighs and the rope running from it
back along the grating. So is the structure he st
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